تحليل چگونگي شكل گيري ميدان تئاتر نوين عصر مشروطه ايران ( با تكيه بر وضعيت تئاتر كشور بين سال هاي 1280 تا 1300 شمسي بر اساس آراء پير بورديو)

An analysis of emergence of Modern theatre Field in Constitutional era (based on Pierre Bourdieu's theory and condition of theatre in Iran between 1901 and 1921)

چگونگي شكل گيري و ساخت يافتن ميدان تئاتر نوين عصر مشروطۀ ايران، قطب هاي تئاتري اين دوره و تكوين زير ميدان هاي آن، موضوع مورد بحث اين پپوهش است تئاتر نوين ايران كمي پيش از آغاز مشروطيت بين سال هاي 1280 تا 1100 به مثابۀ يك ميدان شكل پيدا كرد اين فرايند حاصل تغيير در نظام سرمايه و عادت واره هاي كنشگران آن بود كه با ايجاد بدعت در سبك ها و فرم هاي متداول نماي اين دوره، خواهان استفاده از تئاتر نوين به عنوان ابزاري جهت اعتلاي فرهنگ عمومي و آگاهي بخشي سياسي جامعه بودند چگونگي حركت و فعاليت اين گروه ها، جايگاه و مواضع عاملان گروه ها به لحاظ اجتماعي و هنري، نوع سرمايه و عادت واره هاي آنان و چگونگي ارتباطشان با ساختار سياسي حاكم و قطب نمباي عامه پسند از مهمترين ﭘﺮﺳﺶﻫﺎي ﻣﻄـﺮح ﺷـﺪه در اﯾـﻦ ﭘـﮋوﻫﺶ ﻫﺴـﺘﻨﺪ. اﯾـﻦ ﭘـﮋوﻫﺶ در ﺗﺤﻠﯿـﻞ ﻣﺤﺘـﻮاي ﺧـﻮد از روشﺷﻨﺎﺳﯽ ﺟﺎﻣﻌﻪﺷﻨﺎﺧﺘﯽ ﺷﯿﻮة ﺳﺎﺧﺘﺎرﮔﺮاﯾﯽ ﺗﮑـﻮﯾﻨﯽ ﭘﯿـﺮ ﺑﻮردﯾـﻮ ﺑـﺎﻻﺧﺺ ﻣﻔـﺎﻫﯿﻢ ﺗﻤـﺎﯾﺰ ، ﻣﯿﺪان و ﺳﺮﻣﺎﯾﻪ ﺑﻬﺮه ﮔﺮﻓﺘﻪ اﺳﺖ. در اﻧﺘﻬﺎ در ﻣﯽﯾﺎﺑﯿﻢ ﮐﻪ ﺗﺌﺎﺗﺮ ﻧﻮﯾﻦ ﻋﺼﺮ ﻣﺸﺮوﻃﻪ داراي ﺗﻤـﺎﯾﺰ ﻗﺎﺑﻞ ﺗﺄﻣﻠﯽ از ﻧﻤﺎﯾﺶ ﻋﺎﻣﻪﭘﺴﻨﺪ آن دوره و ﺣﺎﺻـﻞ ﺳـﺮﻣﺎﯾﻪ ﻫـﺎي ﻓﺮﻫﻨﮕـﯽ، اﺟﺘﻤـﺎﻋﯽ و ﻧﻤـﺎدﯾﻦ ﺑﺮآﻣﺪه از ﺟﺮﯾﺎن ﻣﺸﺮوﻃﯿﺖ اﺳﺖ و در ﻣﺴﯿﺮ ﮐﺎﻣﻼً ﻣﺘﻔﺎوﺗﯽ از ﻧﻤﺎﯾﺶ ﻋﺎﻣﻪﭘﺴﻨﺪ ﺟﺮﯾﺎن دارد.

How the modern theater field of Iran’s Constitutionalism age is formed and organized and the theater poles of this age and appearance of sub-fields, is discussed in this study. The modern theater of Iran was formed a little before the beginning of Constitutionalism from 1901 to 1921 as a field. This process was result of change in the capital system and habitus of its actors that through innovating in the conventional styles and forms of play of this period, desired to use the modern theater as a tool to promote the public culture and political awareness of society. How the group made movement and activity, the status and position of the groups’ agents in terms of social and artistic situation, the type of their capital and habitus and their relationship with the governing political structure and the popular play pole of the age are among the most important questions of this research. In the end, we find that the modern theatre of the Constitutionalism era has a considerable distinction from the popular play of that time and is result of the cultural, social and symbolic capitals evolved from the Constitutionalism movement, a distinction that sets it in a path wholly different from the popular play of this time. This study has utilized Pierre Bourdieu's formative structuralism, in particular, the concepts of distinction, field and capital for its content analysis.